Event is Live
Carnegie Hall Presents

Los Angeles Philharmonic

Tuesday, October 25, 2022 8 PM Stern Auditorium / Perelman Stage
Gustavo Dudamel by Rafael Pulido, María Dueñas by Tam Lan Truong
The Los Angeles Philharmonic makes its long-anticipated return with a program that will impress fans of orchestral music both time-tested and new. Violinist María Dueñas—one of the instrument’s exceptional rising stars—performs the New York premiere of a concerto by Gabriela Ortiz. As one of today’s foremost composers, Ortiz draws upon multiple musical traditions to create thought-provoking yet easily compelling music. Gustavo Dudamel notably conducted Mahler’s Symphony No. 1 during his inaugural concert as the Philharmonic’s music director in “a probing, rigorous, and richly characterized interpretation” (The New York Times) that quickly set a high bar for their singular partnership.

Performers

Los Angeles Philharmonic
Gustavo Dudamel, Music and Artistic Director
María Dueñas, Violin

Program

GABRIELA ORTIZ Violin Concerto (NY Premiere)

G. MAHLER Symphony No. 1


Encore:

TÁRREGA Recuerdos de la Alhambra (arr. Ruggiero Ricci)

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission. Please note that there will be no late seating before intermission.

Listen to Selected Works

At a Glance

On the surface, this program would seem to be predicated on contrast. The temporal, geographical, cultural, chronological, and aesthetic distances between Gustav Mahler’s First Symphony and Gabriela Ortiz’s seventh musical “altar” are great indeed. But there are also areas of common ground, however dislocated. Both composers draw on a focused range of interdisciplinary influences and inspirations—Mahler from German Romantic art and literature (with a portentous nod to Dante), Ortiz from border-fluid architecture and sociology—and both accept and personalize traditional forms.

Perhaps freed by her distance from the origin of those traditions and her maturity as an artist, Ortiz was able to complete Altar de cuerda in three months last year. She cast it in the three fast–slow–fast movements common to the concerto heritage but filled that familiar outline with a heady mix of vivid and inventive instrumental colors and textures.

Mahler, on the other hand, struggled for 15 years with details great and small (including eliminating an entire movement) before bringing his Symphony No. 1 through four premieres to its final published form in the four movements of tradition. In the process, he ditched the evolving verbal programs that once accompanied the music, though their nature imagery and narrative arc remain audible. As with Altar de cuerda, the forms and their functions may be of recognizable genres, but their expression is utterly idiosyncratic.

—John Henken

Bios

Los Angeles Philharmonic

The Los Angeles Philharmonic, under the vibrant leadership of Music and Artistic Director Gustavo Dudamel, presents an inspiring array of music through a commitment to foundational works ...

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Gustavo Dudamel

Gustavo Dudamel is driven by the belief that music has the power to transform lives, to inspire, and to change the world. Through his dynamic presence on the podium and his tireless ...

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María Dueñas

With her impressive musical expressiveness and technical perfection, at the age of only 19, María Dueñas has quickly established herself as one of the most sought-after ...

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